Composed by Johann Sebastian Bach (1685-1750), edited by Christopher Parkening. ...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Christopher Parkening.
Format: guitar solo book.
With standard guitar
notation and introductory
text. Baroque. 24 pages.
9x12 inches.
Edited by Frederick Noad. For guitar. Format: guitar solo book. With standard gu...(+)
Edited by Frederick Noad.
For guitar. Format:
guitar solo book. With
standard guitar notation
(no tablature),
fingerings, performance
notes and introductory
text. Renaissance,
baroque and classical
period. 151 pages. 9x12
inches. Published by
Chester Music.
by J. S. Bach transcribed by Michael Lorimer. For classic guitar. Classic, Baroq...(+)
by J. S. Bach transcribed
by Michael Lorimer. For
classic guitar. Classic,
Baroque. Level: Advanced.
Book. Solos. Size
8.75x11.75. 16 pages.
Published by Mel Bay
Pub., Inc.
For guitar. Format: guitar solo book. With standard notation (no tablature) and ...(+)
For guitar. Format:
guitar solo book. With
standard notation (no
tablature) and
fingerings. Renaissance,
baroque, classical period
and 20th century. 126
pages. 9x12 inches.
Published by Music Sales.
Suite No. 1 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. ...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4308
Composed by Giorgio
Mirto. Score. Les
Productions d'OZ #DZ
4308. Published by Les
Productions d'OZ
(DZ.DZ-4308).
ISBN
9782898522253.
Foll
owing a recent experience
on the jury of a guitar
competition, I noted with
great pleasure that
Giorgio Mirto, with whom
I had shared the role of
juror, wanted to
celebrate the experience
of the competition -
during from which we
discovered that we had
had a great affinity of
thought - with something
which could endure over
time and not evaporate as
often happens in short
and occasional meetings
between musicians. He did
it as a true composer,
which he is, and
dedicated to me a very
beautifully crafted Suite
to which I allowed myself
to collaborate at least
formally, by suggesting
titles for the four
movements. This is how
Suite n.1 was born, a
piece that does not
strictly respect the
formal rules of the
Baroque era, but
reinterprets and reuses
them in a new key. The
work's obvious late
Baroque inspiration led
me to find titles that
invited the performer to
delve deeper into the
work's aesthetic
inspiration. So I
suggested to Giorgio that
he title the four
movements with something
that linked their content
to four greats of the
18th century. German
masters. The prelude has
thus become from Eisenach
because of its sometimes
improvised Bach-like
atmosphere, the second
movement, vaguely
toccata, speaks an organ
language in the manner of
Buxtehude (who lived in
Lübeck), the slow
movement has a Handelian
quality - and Handel was
born in Halle - and the
last movement, far from
being a true Chaconne,
undoubtedly has the
latter's taste for
variation and ostinato,
typical traits of
Telemann who lived in
Magdeburg. The cities
that appear in the titles
are therefore indelible
to the authors cited.
Furthermore, one should
not think that the style
of the work is in any way
German, given that
Giorgio Mirto expresses
himself in a very joyful
language that synthesizes
modality with minimalism,
all seasoned with a a nod
to Pink's progressive
rock Floyd. or a Mike
Oldfield... The result of
this mixture of ideas,
inspirations and styles
is a work that personally
I never tire of reading
and rereading, for the
freshness that emanates
from it and for the
climate expressive which
rises, nourishing itself
with full efficiency. We
ultimately cannot ignore
that the note B, the one
which marks in a minor
way some of the most
expressive works of the
guitar repertoire, from
the study of Sor which
made generations of
students fall in love
with the guitar, until to
that of Frank Martin's
Four Pieces via La
Catedral di Barrios, is
the modal fulcrum of the
entire Suite: it is true
that the Prelude begins
with a clear chord in E
minor and lingers on an
open ending in A minor ,
but it almost seems that
the initial E serves as a
launching pad for a
continuation of the work
in which the dominant,
that is to say the B, is
the true musical North,
the pole star which
guides us in the other
three movements until the
end of the Chaconne de
Magdebourg. I wish
Giorgio and our Suite
great longevity and a
favorable destiny in the
complex and complex world
of contemporary guitar
composition. And I thank
him again, flattered by
his very kind
dedication.
Composed
by Dusan Bogdanovic.
Score. Les Editions
Doberman-Yppan #DO 1529.
Published by Les Editions
Doberman-Yppan
(DY.DO-1529).
ISBN
9782897963095.
Homa
ge to the English
guitarist-composer John
Duarte, In an English
Garden, is a short
Neo-Baroque triptych
based on a charming
harmonic fragment from
the second movement of
the composer’s
well-known work English
Suite. The blueprint for
the Prelude is in the
French Overture style and
Sarabande with the
accompanying Double is
modelled after Bach’s
Partita no.1 in B minor.
The quote Sitting in an
English garden, waiting
for the sun, is from one
of my favorite songs by
John Lennon, I Am The
Walrus.
Hommage au
guitariste-compositeur
anglais John Duarte, In
an English Garden est un
court triptyque
néo-baroque basé sur un
charmant fragment
harmonique du deuxième
mouvement de l’œuvre
bien connue du
compositeur English
Suite. Le plan du
Prélude est dans le
style de l’Ouverture
française et la
Sarabande accompagnée du
Double est calquée sur
la Partita n°1 en si
mineur de Bach. La
citation « Assis dans un
jardin anglais, attendant
le soleil » est tirée
d’une de mes chansons
préférées de John
Lennon, I Am The
Walrus.
Composed by Paolo Ugoletti Andrea Vezzoli. Edited by Piero Bonaguri and Raffae...(+)
Composed by Paolo
Ugoletti
Andrea Vezzoli. Edited by
Piero Bonaguri and
Raffaello
Ravasio. Saddle
stitching.
Piero Bonaguri
Collection.
Classical. Ut Orpheus #CH
254.
Published by Ut Orpheus
Guitar Solo SKU: IS.G6764EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6764EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6764EM.
Published by Metropolis
Music Publishers
(IS.G6764EM).
Guitar Solo SKU: IS.G6765EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6765EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6765EM.
Published by Metropolis
Music Publishers
(IS.G6765EM).
Guitar Solo SKU: IS.G6761EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6761EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6761EM.
Published by Metropolis
Music Publishers
(IS.G6761EM).
Guitar Solo SKU: IS.G6766EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6766EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6766EM.
Published by Metropolis
Music Publishers
(IS.G6766EM).
Guitar Solo SKU: IS.G6763EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6763EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6763EM.
Published by Metropolis
Music Publishers
(IS.G6763EM).
Guitar Solo SKU: IS.G6760EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6760EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6760EM.
Published by Metropolis
Music Publishers
(IS.G6760EM).
Guitar Solo SKU: IS.G6767EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6767EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6767EM.
Published by Metropolis
Music Publishers
(IS.G6767EM).
ISBN
9790365067671.
This
sonata (WeissSW No. 15,
London) is one of a new
series of eight sonatas
by Silvius Leopold Weiss
arranged for the first
time for guitar and
published by Metropolis
Music. Sonata X comes
from Weissâ??s middle
â??productiveâ??
period, thought to have
taken place between 1719
and 1725. The original
tablature manuscript is
in the British Library
(London Ms. Add. 30387).
The Sonata has six
movements: Allemande,
Courante, Paisane,
Sarabande, Menuet, and it
ends with a Gigue. There
is a another copy of this
Sonata in the Warszawa
Biblioteka Uniwersytecka
Poland (in its entirety),
and a copy in the
Sächsisches
Landesbibliothek in
Dresden (Suite XXVI),
which contains three
concordant movements:
Allemande, Courante, and
the Gigue. The Dresden
manuscript displays some
differences from the
London manuscript. This
Edition has taken those
differences into account
in certain details.
Originally, the Sonata is
written in B flat major,
a key often used by Weiss
as it is appropriate for
playing the lute, but
rather awkward with the
guitar. For ease and
effectiveness of playing,
I have transposed the
Sonata a minor third
lower to G major. To
create more concordance
with the baroque tuning
of the lute, the G string
is lowered by a semitone
to F sharp. I suggest
using a capodastro to
achieve the original
pitch. Based on the
present standard of A at
440 Hertz, the capo
should be placed at the
3rd fret. However, during
Weissâ??s lifetime, it
was more common in many
parts of Germany to use a
standard of A at 415
Hertz -â? a semitone
lower. So, to hear the
pitch heard by Weiss and
his contemporaries, the
capo should then be
positioned at the 2nd
fret.
Gitariskola - Guitar
Tutor. Composed by
Erzsé, Mikló,
bet Nagy, czi, and s
Mosó. EMB. Volume
1. Children, Classical,
Hungarian. Book
[Softcover]. 68 pages.
Editio Musica Budapest
#Z8418. Published by
Editio Musica Budapest
(HL.50489495).
ISBN
9790080084182. Bach (23 x
30,2 cm) inches.
Hungarian, English,
German.
This
publication is a
completely revised
edition of our
five-volume guitar tutor.
In the decades since the
first edition, the
musical interests of our
students and their
practice possibilities
have changed. To adapt to
this, we have partly
expanded and partly
reduced the musical and
technical material of the
tutor. We have increased
the number of recital
pieces at all levels of
difficulty, so that our
students can spend longer
on a varied repertoire at
their respective level.
We have first of all
selected works from the
Viennese classics for
this purpose but have
also enriched the
repertoire of the tutor
with numerous pieces from
the Renaissance and
Baroque periods. In
volumes I and II of the
tutor we have given
Hungarian folk songs and
children's songs a
significant amount of
space. In the course of
revision, we have
expanded the material of
these two volumes with
simple arrangements of
folk songs, nursery
rhymes and flower songs,
and we have provided very
easy, but valuable
material for instrumental
study in particular for
children aged between 6
and 10. We have also
expanded the chamber
music material to be
found at the end of the
volumes, because we
believe that playing
music together is the
best way to make
instrumental study a
lasting experience for
our students. The parts
are relatively simple,
sothe works provide a
musical experience almost
immediately.
Guitar SKU: HL.50605198 For Guitar Solo. Composed by Martin Klasch...(+)
Guitar
SKU:
HL.50605198
For
Guitar Solo. Composed
by Martin Klaschka.
Guitar. Classical.
Softcover. 12 pages.
Ricordi #SY7014.
Published by Ricordi
(HL.50605198).
ISBN
9781705164938. UPC:
196288068594.
My
Piece Tema con Variazoni
is inspired by Italian
Baroque Music and is
based on a hymn theme
that I composed myself.
It's not at all difficult
but sounds yet full
(Martin Klaschka). Martin
Klaschka (*1963) studied
music at Staatliche
Hochschule fur Musik und
Darstellende Kunst
Stuttgart. Much of his
energy is devoted to
writing easy to
intermediate pieces for
different instruments and
ensembles.
Expanded, revised
edition. Composed by
Erzsé, Mikló,
bet Nagy, czi, and s
Mosó. EMB. Volume
2. Children, Classical,
Hungarian. Softcover. 64
pages. Editio Musica
Budapest #Z12280.
Published by Editio
Musica Budapest
(HL.50487106).
ISBN
9790080122808. Bach (23 x
30,2 cm) inches. Erzsebet
Nagy; Miklos
Mosoczi.
This
publication is a
completely revised
edition of our
five-volume guitar tutor.
In the decades since the
first edition, the
musical interests of our
students and their
practice possibilities
have changed. To adapt to
this, we have partly
expanded and partly
reduced the musical and
technical material of the
tutor. We have increased
the number of recital
pieces at all levels of
difficulty, so that our
students can spend longer
on a varied repertoire at
their respective level.
We have first of all
selected works from the
Viennese classics for
this purpose but have
also enriched the
repertoire of the tutor
with numerous pieces from
the Renaissance and
Baroque periods. In
volumes I and II of the
tutor we have given
Hungarian folk songs and
children's songs a
significant amount of
space. In the course of
revision, we have
expanded the material of
these two volumes with
simple arrangements of
folk songs, nursery
rhymes and flower songs,
and we have provided very
easy, but valuable
material for instrumental
study in particular for
children aged between 6
and 10. We have also
expanded the chamber
music material to be
found at the end of the
volumes, because we
believe that playing
music together is the
best way to make
instrumental study a
lasting experience for
our students. The parts
are relatively simple,
sothe works provide a
musical experience almost
immediately.